Engraved Gems and Propaganda in the Roman Republic and under Augustus (Archaeopress Roman Archaeology)

Description

Engraved Gems and Propaganda in the Roman Republic and under Augustus deals with small, but highly captivating and stimulating artwork – engraved gemstones. Although in antiquity intaglios and cameos had multiple applications (seals, jewellery or amulets), the images engraved upon them are snapshots of people's beliefs, ideologies, and everyday occupations. They cast light on the self-advertising and propaganda actions performed by Roman political leaders, especially Octavian/Augustus, their factions and other people engaged in the politics and social life of the past. Gems can show both general trends (the specific showpieces like State Cameos) as well as the individual and private acts of being involved in politics and social affairs, mainly through a subtle display of political allegiances, since they were objects of strictly personal use. They enable us to analyse and learn about Roman propaganda and various social behaviours from a completely different angle than coins, sculpture or literature. The miniaturism of ancient gems is in inverse proportion to their cultural significance. This book presents an evolutionary model of the use of engraved gems from self-presentation (3rd-2nd century BC) to personal branding and propaganda purposes in the Roman Republic and under Augustus (until 14 AD). The specific characteristics of engraved gems, their strictly private character and the whole array of devices appearing on them are examined in respect to their potential propagandistic value and usefulness in social life. The wide scope of this analysis provides a comprehensive picture covering many aspects of Roman propaganda and a critical survey of the overinterpretations of this term in regard to the glyptic art. The aim is the incorporation of this class of archaeological artefacts into the well-established studies of Roman propaganda, as well as the Roman society in general, brought about by discussion of the interconnections with ancient literary sources as well as other categories of Roman art and craftsmanship, notably coins but also sculpture and relief. Table of Contents Foreword and acknowledgments Part I Introduction 1. Preface 2. State of research 3. Aims, methodology and structure Part II Theory 4. Self-presentation and propaganda – definitions and characteristics 4.1. Definitions of ‘self-presentation’ and ‘propaganda’ 4.2. Propaganda and persuasion 4.3. Propaganda and public opinion 4.4. Propaganda as a form of communication 4.5. Forms of propaganda 4.6. Tools and techniques of propaganda 4.7. The effectiveness of propaganda 5. Roman propaganda on engraved gems – general introduction 5.1. Anticipated areas of propaganda on engraved gems 5.2. Problems with studying propaganda in ancient times with emphasis on engraved gems Part III Evidence 6. Beginnings (3rd-2nd centuries BC) 6.1. Etruscan and Italic tradition (self-presentation) 6.2. Hellenistic influences 6.3. Roman tradition (family symbols, personal branding, commemoration, state propaganda) 7. Early 1st century BC 7.1. Lucius Cornelius Sulla 7.2. Gaius Marius 7.3. Lucius Licinius Lucullus 7.4. Other politicians 8. Civil War: Pompey the Great, Julius Caesar and contemporaries 8.1. Pompey the Great 8.2. Julius Caesar 8.3. Less significant politicians and women from the times of the Civil War 9. Post-Caesarian and Liberators’ Civil Wars (from death of Caesar to Octavian’s sole rule: 44-27 BC) 9.1. The Pompeians 9.2. The Republicans 9.3. The Caesarians 9.4. Less significant politicians 9.5. Women and their propaganda significance on engraved gems 10. Augustus (27 BC-AD 14) 10.1. Collecting 10.2. Gem engravers working for Augustus 10.3. The final seal of Augustus 10.4. Portraits – personal branding induction and manifestation of loyalty 10.5. Commemoration and State Cameos 10.6. Divine and mythological references 10.7. Mythological Foundations of the New Rome 10.8. Promotion of peace and prosperity 10.9. Luxury objects (State Cameos, cameo vessels etc.) and religious propaganda 10.10. Promotion of family and successors 10.11. Divus Augustus Part IV Summary and conclusions 11. Provenance, provenience, production and distribution of propaganda gems 12. Statistics 13. Summary and conclusions: 13.1. Use of gems in triumphs 13.2. Collecting 13.3. Employment of gem engravers 13.4. Seals 13.5. Personal branding and self-promotion 13.6. Induction and manifestation of loyalty and support 13.7. Use of heritage 13.8. Promotion of family and oneself through origo 13.9. Promotion of faction 13.10. Commemoration 13.11. Religious, divine and mythological references 13.12. Political symbols and promotion of abstract ideas (ordo rerum, Pax Augusta and aurea aetas) 13.13. Luxury objects: State Cameos – carved vessels – works in the round 13.14. Final remarks Part V Catalogue, figures, bibliography and indices Catalogue Figures Figure credits Bibliography Index